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Soviet Temporalities Reading Group (London) holds its next session on 'Stagnation 2.0' today, 11 March, at 4pm UK time.

The discussion will be devoted to Pavel Arseniev's chapter '“Poetry Was Forever, Until It Was No More”: On the New Temporality and Media-Context of the Contemporary Cultural Movement' which was recently published in the volume (Counter-)Archive: Memorial Practices of the Soviet Underground (Palgrave, 2024).

This contribution claims that the acceleration of electronic exchanges and amortization of political change became deeply imbricated during the last decades in Russia. By the end of the 2010s, discussions around activist or utilitarian poetry gave way to non-conformism, aesthetic resistance, and stylistic dissidentism. The new defense state is defined by two key dimensions: mediated temporality and an institutional milieu of “new stagnation” (“neozastoi”). The epoch of political reaction inspires poets to look toward an idealized and rather “postponed” future, instead of pragmatic interactions in the here-and-now. This moment leads not only to a seemingly familiar feeling of slowed time but also to institutional divisions into the “official” and the “unofficial.” But in contrast to that institutional temporality and the structure of literary space, familiar as Soviet stagnation, the “new stagnation” was accompanied by a new climate and phenomena of media acceleration. After a short theoretical introduction, the text focuses on three auto-reflective cases, which provide evidence that this new situation has greatly influenced, first of all, the (self)archival practices to which cultural actors normally turn, having a) being filmed; b) geographically migrated, and; c) undergone a professional conversion—to the adjacent domain of Slavic Studies and, thus, being transformed from object to subject of research.

Chapter is based on theoretical intuitions first expressed in #22 [Translit]: Stagnation / fast communication, from which next articles were chosen for additional reading:
Igor Gulin. Twilight of the construction site. Messianic Aspects of Soviet Production Drama
Alexei Konakov. Material Foundations of the Epoch of ‘Stagnation’: A. Mironov as a Poet of the Archaic, Death and Oil
Egor Rogalev & Evgeniya Suslova. Communication effects: A Topological game.

More about #22 [Translit] and articles are accessible via: http://www.trans-lit.info/vypuski/22

PM for Zoom link

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“Poetry Was Forever, Until It Was No More”: On the New Temporality and Media-Context of the Contemporary Cultural Movement

This auto-testimonial reflection claims that the acceleration of electronic exchanges and amortization of political change became deeply imbricated during the last decades in Russia. By the end of the 2010s, discussions around activist or utilitarian

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www.tgoop.com/translit_mag/408

194 viewsedited  Mar 11 at 08:37

Soviet Temporalities Reading Group (London) holds its next session on 'Stagnation 2.0' today, 11 March, at 4pm UK time.

The discussion will be devoted to Pavel Arseniev's chapter '“Poetry Was Forever, Until It Was No More”: On the New Temporality and Media-Context of the Contemporary Cultural Movement' which was recently published in the volume (Counter-)Archive: Memorial Practices of the Soviet Underground (Palgrave, 2024).

This contribution claims that the acceleration of electronic exchanges and amortization of political change became deeply imbricated during the last decades in Russia. By the end of the 2010s, discussions around activist or utilitarian poetry gave way to non-conformism, aesthetic resistance, and stylistic dissidentism. The new defense state is defined by two key dimensions: mediated temporality and an institutional milieu of “new stagnation” (“neozastoi”). The epoch of political reaction inspires poets to look toward an idealized and rather “postponed” future, instead of pragmatic interactions in the here-and-now. This moment leads not only to a seemingly familiar feeling of slowed time but also to institutional divisions into the “official” and the “unofficial.” But in contrast to that institutional temporality and the structure of literary space, familiar as Soviet stagnation, the “new stagnation” was accompanied by a new climate and phenomena of media acceleration. After a short theoretical introduction, the text focuses on three auto-reflective cases, which provide evidence that this new situation has greatly influenced, first of all, the (self)archival practices to which cultural actors normally turn, having a) being filmed; b) geographically migrated, and; c) undergone a professional conversion—to the adjacent domain of Slavic Studies and, thus, being transformed from object to subject of research.

Chapter is based on theoretical intuitions first expressed in #22 [Translit]: Stagnation / fast communication, from which next articles were chosen for additional reading:
Igor Gulin. Twilight of the construction site. Messianic Aspects of Soviet Production Drama
Alexei Konakov. Material Foundations of the Epoch of ‘Stagnation’: A. Mironov as a Poet of the Archaic, Death and Oil
Egor Rogalev & Evgeniya Suslova. Communication effects: A Topological game.

More about #22 [Translit] and articles are accessible via: http://www.trans-lit.info/vypuski/22

PM for Zoom link

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